Honouring the Father
Commentary by Alysée Le Druillenec
Honour your father by words and deed, that a blessing from him may come upon you. (Sirach 3:8)
Arms crossed over her chest, looking upwards, Teresa of Ávila kneels before the Christ who appears to her and points up to heaven.
Jesus’s gesture establishes a line along which our eye can travel—upwards to the dove representing the Holy Spirit (see Matthew 3:16) and then to God the Father. This line connects the three trinitarian persons, all of whom are looking at Teresa. A second line is the one established by Teresa’s raised eyes, which are focussed directly on the Father, and reciprocate his regard.
In her writings, Teresa draws an analogy between honouring the Father in heaven and observing the Fourth Commandment to honour one’s earthly parents (Exodus 20:12; Deuteronomy 5:16; see Mark 10:19). If we ‘honour [our] father by words and deed’ (Sirach 3:8), then we will also be attentive to our heavenly Father and will ‘have respect for His honour’ (Dalton 1852: 129). In this way a devotee can come to understand herself as God’s child, a ‘partner and co-heir’ with Jesus (see Exodus 20:12; Proverbs 13:22a; Deuteronomy 21:16; Jeremiah 2:7a).
The interpenetration of the celestial and terrestrial spheres is revealed in the virtuous circle between the Trinity and the saintly intercessor. The in-between space in Guercino’s painting can be read as a metaphorical representation of the spiritual place into which we—with Teresa—are invited; a space in which one can ‘stand between this Father and this Son [and] necessarily find the Holy Spirit’ (Teresa, Dalton 1852: 129).
By representing her as a role model for the devotee who must ‘honour the Father’ Guercino’s painting may allude to Teresa’s writings about trinitarian participation (or inhabitation). Guercino depicts how the human soul and the Holy Trinity can become present to each other (Teresa, Sesé 1995: 89–93).
For Teresa, honouring one’s earthly father will result in honouring the Father who is in heaven. And if we honour the Father in heaven, then we ourselves become like his children and heirs, along with Jesus—caught up into an encounter with the Father and the Spirit through the Son.
Following the teaching of Matthew 6, Teresa thus invites the devotee into a prayer that ‘is a cry of trust, in faith, hope and love’ (Teresa, Dalton 1852: 129).
References
Alvarez, Tomás (ed.). 2008. Dictionnaire Sainte Thérèse d’Avila. Son temps, sa vie, son œuvre et la spiritualité carmélitaine (Paris: Cerf), pp. 355–60
Dalton, John (trans.). 1852. Teresa of Ávila: The Way of Perfection, and Conceptions of Divine Love (London: C. Dolman)
Dekoninck, Ralph. 2016. ‘The Mystical Experience—Between Personification and Incarnation: The Idea vitae Teresianae iconibus symbolicis expressa (Antwerp, Jacob Mesens: 1680s)’, in Personification. Embodying Meaning and Emotion, ed. by Walter Melion and Bart Ramakers (Leiden: Brill), pp. 186–207
Druillenec (Le), Alysée. 2021. ‘L’Inhabitation trinitaire chez Thérèse d’Avila, objet d’une théologie en histoire de l’art ?’, Perspective, 2: 151–58
Sesé, Bernard and Carmélites de Clamart (eds). 1995. Œuvres complètes, Thérèse d'Avila, Tome 4, Château intérieur 7, 1, 5–7 (Paris: Cerf), pp. 89–93